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Chapter One
Things That Go Bump in the Night
Along the Oregon coast an arm of the Pacific shushes softly against rocky shores. Above the waves, dripping silver in the moonlight, old trees, giant trees, few now, thrust their heads among low clouds, the moss thick upon their boles and shadow deep around their roots. In these woods nights are quiet, save for the questing hoot of an owl, the satin stroke of fur against a twig, the tick and rasp of small claws climbing up, clambering down. In these woods, bear is the big boy, the top of the chain, but even he goes quietly and mostly by day. It is a place of mosses and liverworts and ferns, of filmy green that curtains the branches and cushions the soil, a wet place, a still place.
A place in which something new is happening. If there were eyes to see, they might make out a bear-sized shadow, agile as a squirrel, puckering the quiet like an opening zipper, rrrrip up, rrrrip down, high into the trees then down again, disappearing into mist. Silence intervenes, then another seam is ripped softly on one side, then on the other, followed by new silences. Whatever these climbers are, there are more than a few of them.
The owl opens his eyes wide and turns his head backwards, staring at the surrounding shades. Something new, something strange, something to make a hunter curious. When the next sound comes, he launches himself into the air, swerving silently around the huge trunks, as he does when he hunts mice or voles or small birds, following the pucker of individual tics to its lively source, exploring into his life's darkness. What he finds is nothing he might have imagined, and a fewmoments later his bloody feathers float down to be followed by another sound, like a satisfied sigh.
Near the Mexican border, rocky canyons cleave the mountains, laying them aside like broken wedges of gray cheese furred with a dark mold of pinon and juniper that sheds hard shadows on moon glazed stone, etched lithographs in gray and black, taupe and silver.
Beneath feathery chamisa a rattlesnake flicks his tongue, following a scent. Along a precarious rock ledge a ring-tailed cat strolls, nose snuffling the cracks. At the base of the stone a peccary trots along familiar foot traits, toward the toes of a higher cliff where a seeping spring gathers in a rocky goblet. In the desert, sounds are dry and rattling: pebbles toed into cracks, hoofs tac-tacking on stone, the serpent rattle warning the wild pig to veer away, which she does with a grunt to the tribe behind her. From the rocky scarp the ringtailed cat hears the whole population of the desert pass about its business in the canyon below.
A new sound comes to this place, too. High in the air, a chuff, chuff, chuff, most like the wings of a monstrous crow, crisp and powerful, enginelike in their regularity. Then a cry, eerie and utterly alien, not from any native bird ever heard in this place.
The peccary freezes in place. The ring-tailed cat leaps into the nearest crevice. Only the rattler does not hear, does not care. For the others, staying frozen in place seems the appropriate and prudent thing to do as the chuff, chuff, chuff moves overhead, another cry and an answer from places east, and west, and north as well. The aerial hunter is not alone, and its screams fade into the distance, the echoes still, and the canyon comes quiet again.
And farther south and east, along the gulf, in the wetland that breeds the livelihood of the sea, in the mangrove swamps, the cypress bogs, the moss-lapped, vine-twined, sawgrass-grown, reptile-ridden mudflats, night sounds are continuous. Here the bull gator bellows, swamp birds call, insects and frogs whir and buzz and babble and creak. Fish jump, huge tails thrash, wings take off from cover to silhouette themselves on the face of the moon.
And even here comes strangeness, a great squadge, squadge, squadge, as though something walks through the deep muck in giant boots on ogre legs, squishing feet down and sucking them up only to squish them down once more. Squadge, squadge, squadge, three at a time, then a pause, then three more.
As in other places, the natives fall silent. The heron finds himself a perch and pulls his head back on his long neck, letting it rest on his back, crouching a little, not to be seen against the sky. The bull gator floats on the oily surface like a scaly buoy, fifteen feet of hunger and dim thought, an old man of the muck, protruding eyes seeing nothing as flared nostrils taste something strange. He lies in his favorite resting place near the trunk of a water-washed tree. There was no tree in that place earlier today, but the reptilian mind does not consider this. Only when something from above slithers sinuously onto the top of his head does he react violently, his body bending, monstrous tail thrashing, huge jaws gaping wide . . .
Then nothing. No more from the gator until morning, when the exploring heron looks along his beak to find an intaglio of strange bones on the bank, carefully trodden into the muck, from the fangs at the front of the jaw to the vertebra at the tip of the tale. Like a frieze of bloody murder, carefully displayed.
The Fresco. Copyright © by Sheri Tepper. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.
